Now showing at the Metropolitan Museum of Art until April 18, 2010 is the first ever show dedicated solely to Agnolo Bronzino, the Italian Mannerist. With almost sixty drawings from the artist, , some never before seen, the exhibition helps to shed light on an artist whose name is familiar to many, but whose depictions of the form may still be unfamiliar to viewers.

The show is put together with the help of the Gabinetto Disegni e Stampe degli Uffizi and the Polo Museale Fiorentino, Florence and encompasses a refreshing take on the figure.  Although the drawings are done largely from a scholastic standpoint, making excellent reference of the figures musculature and positioning, the works read as soft, delicate and emotional. Bronzino’s take on the figure is not only refreshing, but raises the question of how a figurative artist of his caliber escaped the public eye for so long.

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Seated Nude Youth Playing Panpipes, red chalk, 1530-32

Seated Male Nude Youth, black chalk on gray-blue prepared paper, 1540-41

Throughout his career, Rembrandt took on a select group of students and taught them the techniques that he had spent his life perfecting. Because of the numerous works born in the academic environment that he created, many of the works are today disputed over whether the works came from Rembrandt or from one of the students, influenced by his style.

That is exactly what the show titled Rembrandt and his Pupils showing at the Getty Center until February 28th set out to show. Using a series of comparative techniques, the exhibit helps to explain the difference between a work of Rembrandt and of the fifteen pupils shown in the exhibit. Showing just over one hundred works on paper the collection highlights the brilliant simplicity in the work created between Rembrandt and his pupils.

1200 Getty Center Drive
Los Angeles, California 90049
310.440.7300

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Seated Female Nude, Rembrandt, 1661

Here’s an appropriate use of the figure in advertising! The FX show Nip Tuck advertising campaigns have consistently used the figure in classic poses, but with  one that captures the reality of one of the United State’s largest businesses; plastic surgery. The billion dollar industry operates under the promise of allowing men and women the opportunity to aesthetically reverse time. The shows advertisements give us glimpses into that mentality, showing it from a first person view, but critiquing the industry in the process. The images used in the show’s advertisements build around the social commentary of plastic surgery but stand as commercialized uses of the figure, as well as being reflective of timeless posing.

Caption holder

In one advertisement the figure dramatically contours her body accentuating the thinness of her waist. Her weight is supported primarily on the operating table as she balances herself on the thighs of her doctors. Another shows an angelic figure, fallen in the desert, her wings cut from her body, suggesting the once angels desire to sacrifice her gift of wings in exchange for proximity to achieving the ultimate standard in human beauty. The third image was taken by David LaChapelle, an artist once found in the pages of Vogue, now producing pieces that could be considered commercially inspired. In this photo we see a the surgeons reproducing Venus de Milo on a live human form. The live model wears swimwear with wavy blond hair and over-sized sunglasses, looking as if removed from a Florida beach. The superficial elements of the subject as an individual are hinted on, but not overtly emphasized.

An angel having just removed her wings through plastic surgery in an effort to achieve the human standard of beauty

Taken by David LaChapelle this photo shows a woman trying to emulate the Venus de Milo in an effort to achieve a greater degree of beauty.

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When most people are asked to describe an artistic genius, Picasso is often cited as an example. In addition to his undeniable creative talents and the large body of excellent work produced in his lifetime, his whole career appears to have been a successful strategy of exploration and risk-taking at just the right moment in history.

Picasso moved through many periods during his career; some of them depending heavily on the use of the figure, and others where the human form is broken down into nearly unrecognizable shapes. The widely varying phases of Picasso, if positioned anonymously next to each other, could easily be seen as the works of completely different artists; not only aesthetically, but in tone and subject matter as well. His life’s work reflects the desire to understand the essence of humanity and to relay it back to us.

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Blue Nude. Oil on canvas, 1902

Les Demoiselles d'Avignon. Oil on canvas, 1907

Crouching Nude. Oil on canvas, 1954

Forum Gallery is a favorite gallery to visit in mid-town for lovers of the figure, and it’s current exhibit does not disappoint. The Platonic Ideal, running October 1st to November 28th, includes almost thirty painters, sculptors and artists, with many pieces offering contemplations on humanity through the figure. The works fall into three main categories, paintings, sculpture and on paper works.

Of the paintings in this exhibit, several artists working directly with the figure are well represented. Reflection by William Bailey welcomes the viewer into the gallery. A female figure gazes at us, toying with her hair, her figure framed by the balance in the lines of the room surrounding her. Nearby, Prelude by Alan Feltus is similarly infused by lines, yet the tense figure in this painting is an echo of the surrounding chaos of objects surrounding this figure. Suite for Piano by Carlo Maria Mariani is a musical number - so to speak - the floating woman in this painting radiating a creative energy and physical motion.

William Bailey, Reflection. Oil on canvas, 60 x 60 in.

Alan Feltus, Prelude, 2008. Oil on canvas (47 1/4 x 39 1/4in)

Carlos Maria Mariani, Suite for Piano, 2008. Oil on canvas (50 x 31in)

Of the sculptures shown in The Platonic Ideal we saw a nice selection of early 20th century figurative sculpture. Torso by Alexander Archipenko is a wonder of simplicity, the smooth flowing lines of the the form moving into each other. Other works in this show were Female Head by Elie Nadelman and the monumental Centurione Petrificato by Igor Mitoraj, a large antiquated head, of seemingly Roman origins, and clearly heroic. Hugo Robus‘ The General, Dawn, and Elie Nadelman with Woman Dressing Another Woman’s Hair, make complete use of the figure, depicting scenes and emotions that show the expressive nature of figurative arts.

Alexander Archipenko, Torso, 1948. Terracotta (24 inches high)

Igor Mitoraj, Centurione Petrificato, 2008. Bronze (44 x 24 1/2 x 18 1/4 in)

Hugo Robus, The General, 1922. Polished bronze (19 x 19 1/2 x 7 3/8 in)

Edie Nadelman once again gains our attention with her ink sketch Untitled, showing a rough depiction of the form in motion. Philip Evergood’s At Nebuchandnezzar’s Court, a mixed media painting showing multiple figures strolling about, is a light-hearted tangent to the show’s other, more seriously contemplative works.

Philip Evergood, At Nebuchadnezzar's Court, 1927 Watercolor over pencil on paper.

Elie Nadelman, Untitled, 1912. Pen and black ink on paper (17 1/2 x 12 1/2 in)

Forum Gallery is located at
745 5th Ave # 503, New York, NY 10151

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Now showing at the McKee Gallery is “Unique Photographs”, an exhibit of the work of international photographer Richard Learoyd. Running until October 31st, Learoyd’s photographs blur the line between portraiture and painting. Using the figure alongside organic objects, the collection of imagery seems infused with an atmosphere of honesty and introspection. The tonality of his work is quiet and introspective, allowing the viewer to focus on the subtleties of lighting and the nuance of gesture, capturing our imagination in the process.

McKee Gallery is located at
745 5th Ave # 400,
New York, NY 10151

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Unique Ilfochrome print image: 68 x 48in.

Unique Ilfochrome print image: 68 x 48in.

Best known for work that nearly defined the “Pin-up”, Alberto Vargas is recognized for depicting and perfecting the image of female sexuality in the first half of the 20th century. Having worked with Esquire and more famously Playboy magazines, some would be quick to write Vargas off as a soft pornographer, and he’s never expressed any shame in that. However, from the perspective of TheGreatNude, Vargas was an artist dedicated to the figure, and produced a body of work that embodied the meaning of female sexuality and in effect became standards of feminine desire for a generation of American men.

In the early 1920’s, Vargas solidified his career as a successful artist working with the Ziegfeld Follies, and later working as a regular illustrator for Esquire magazine, where he created the infamous “Varga Girl”, a stylistic. While restricted in his ability to paint fully nude figures for these publications, Vargas was able to convey a comparable essence, stylistically depicting his women as playful, coy, and full of energy, further solidifying and advancing the concept of the Pin-Up as an icon of sexual freedom.

In the 1950’s Playboy was the master of men’s literature, delivering well researched articles simultaneously with artistic and sexual content. For decades, Vargas’ art works had a premier spot following the magazine’s premier feature: The Centerfold. It was this venue that gave Vargas the freedom to paint his strongest nudes at the peak of his career, and he produced many of his most iconographic works during this time.

Click here to subscribe to TheGreatNude.tv and to see more of Vargas’ “Legacy Nudes”.

Vargas' iconic image of Diana, shown below with Esquire's clothed and edited rendition

Legacy Nude 4, Exuberance

Legacy Nude 5, Red Fire

The Bernarducci Meisel Gallery is one of New York’s premier galleries for representational approaches to the figure. They’re always a great gallery to pop into any time of the year. Its been four years since we’ve seen a large exhibition of Bernardo Torrens paintings at this gallery, but on October 1st, New Paintings opens and will remain on exhibit until October 31st, featuring works created by Torrens between 2002-2009.

A master of realist technique with a tendency towards a monochrome palate, Torrens focuses crisply on the surface of his subjects, their anatomical details rendered in an absolutely convincing fashion. Some of his works are introspective compositions, portraits of people we feel we may know, others are more compositional, the model’s pose as the topic. In all of Torrens’ paintings, the technical mastery of the works themselves is an enjoyable thing to witness. Check out Bernardo Torrens this October when you’re passing through Midtown, NYC!

The Bernarducci Meisel Gallery is located at 37 West 57th St, New York, NY.

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"Laura I" 2009 acrylic on wood 25.5 x 20"

"Laura II" 2009 acrylic on wood 25.5 x 51.2"

"Katey I" 2009 acrylic on wood 19.75 x 18.125"

Last week TheGreatNude.tv was able to preview some of mixed-media artist Ronald Ventura’s work at the Tyler Rollins Gallery in Chelsea. A Singapore native and established artist in Southeast Asia; this is Rollins first U.S. exhibition. In his upcoming show Metaphysics of Skin running September 17 - October 31, Ventura plays on the interaction between physicality and imagination, perception and creativity. His works seem to bend the concept of portraiture into something that feels personal and quite alien at the same time. The works are worthy of detailed analysis as they are very well painted and worthy of lengthy study.

The Tyler Rollins Gallery is located at 529 West 20th St, 10W New York, NY

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Echo, 2009 oil on canvas, 48 X 36 in.

Second Skin, 2009 oil on canvas 84 X 60 in.

Rainbow for Nothing, 2009 oil on canvas 48 X 36 in.

Mother's Mark, 2009 oil on canvas 48 X 36 in.

The Jenkins Johnson Gallery has always featured wonderfully talented figurative arts and the gallery’s themed shows are always popular openings. Their upcoming show titled On Paper is no exception, and we are thrilled to see so much attention given to art works created by hand the old fashioned way. Many of the nicest pieces in this show are simply drawings - ink washes or graphite on paper featuring the human hand at it’s best.

Several works from the talented hand of Juliette Aristedes are worthy of attention, her atmospheric sketches feeling quite like old master works. These are very expressive drawings, the model nearly comes alive out of the looseness. Michael Bergt’s dreamy compositions are very interesting, evocative of Persian/Eastern erotica from the 19th century. His lounging, longing, twisting figures are set against black backgrounds that modernize these familiar scenarios.

In a quieter vein, Kim Frohsin’s sketches are loose, free, open-hearted expressions of the female form in various states of activity. And Philip Levine’s seated nudes are simple, linear compositions that present a contemplative, quieter view of the figure. In contrast, Kimberly Trowbridge’s slashing style evokes the energy of psychic motion to the figure. Finally, Wade Reynolds presents several figures “as landscapes”, in his signature technique, which has become a standard of quality for many fans of the academic approach to the figure.

The Jenkins Johnson Gallery is located at 521 W. 26th St, New York, NY
To see more of these images online, visit Jenkins Johnson Gallery online.

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Juliette Aristides, Back, 2007, charcoal on paper 26" x 16.5"

Kimberly Trowbridge, Two Figures, 2006, graphite charcoal and collage on paper, 16'' x 18''

Kim Froshin, M.Y. with Jug, 1994, graphite on paper, 15.75'' x 11.25''

Wade Reynolds, Figure as Landscape #1, (preliminary), 2003, prismacolor pencil on tone board, 19'' x 24''